Review by: Tom Mackan
Ninety-nine per cent dance, one per cent word, this vivacious thing invades your spirit from the beginning, grasps your pleasure, and carries you along through a whole myriad of creative moments until your face hurts with smiling. Summer Camp, dear readers, and you’re an adolescent again bursting with rapid fire hormones. You’re a boy and you’re a girl, you’re outdoors in sparkling sunshine and noticing each other, or you’re under the starry night sky larking about or dreaming. Or meeting. You and you, you boy-you girl, have discovered each other. You are Romeo, you are Juliet, you are two and you must not become one, your world will not approve.
We do not come away from this performance without the deepest appreciation of the creative work of a company of such skilled artistry and invention. The melding of dance with music, of movement with story, are consummate in the less than an hour of our attendance. I seriously urge you, my readers, to see this marvelous Fringe production. Hear the music, a compilation of such perfect choices so elegantly suited to the action, a technical achievement to match the performance, under the exquisite charge of Stage Manager Alexa Polenz, all created by Alyssa Martin with a sensitive ear to the lurking bit of darkness that underlies the fear of love that threatens change and yet marks the human condition. The magic of course, is in the sweet insouciance of youth. This is really the very good stuff of theatre.
Wonderful kudos to the company, to Corrado Cerruto, Samantha Grist, Alicia Gui, Olivia Herman, Taylor Hunt, and Sylvie Moquin for their disciplined dancing so joyously infused with fun. Deep bow to Alicia Bacile for her costume design and her minimalist setting, her inventive use of cloth and colour. Hamilton Fringe 10 (2013) is so much the richer for the this utterly involving experience. Readers, again I seriously urge you to the Citadel upstairs theatre this week. Tell them I sent you.